EMUSIC-L Digest Volume 48, Issue 09 This issue's topics: Miscellaneous "Elements of Computer Music" (3 messages) Homebrew digital recording Horf, horf, horf... (2 messages) Ircam - Journee "portes ouvertes" Samedi 23/1 14h-22h Meters and Tempi (2 messages) Midi and Samplers (2 messages) Thesis stuff has arrived YAMAHA synth users list Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ------------------------------------------------------------------------ Date: Fri, 8 Jan 1993 09:19:56 PST From: Leigh Smith Subject: "Elements of Computer Music" in Australia = $$$! Hi all, I've just been reliably informed that "Elements of Computer Music" by F.R. Moore is A$84.95 by Prentice Hall Australia! Considering the U.S. Price is US$38.00, that is one hell of a mark up! Has anyone else in Australia got the book cheaper direct from the States? I tried but Prentice Hall in Newark wouldn't help. Anyone in the U.S. kind enough to confirm the price and/or sell me a copy at less than the daylight robbery prices of Australia? BTW is this an isolated case or are Australian book retailers in general ripping us off? Sounds like good grounds for complaint to the Prices Survelliance Authority. -- =--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--= | Leigh Smith _--_|\ Email: leigh@psychok.DIALix.oz.au | | / \ Tel (H): +61-9-450-2014 | | Perth --> *_.--._/ Perth, Western Australia | | v | =--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--= ------------------------------ Date: Mon, 18 Jan 1993 15:04:45 LCL From: Terry Barnum Subject: "Elements of Computer Music" in Australia = $$$! >I've just been reliably informed that "Elements of Computer Music" by >F.R. Moore is A$84.95 by Prentice Hall Australia! Considering the U.S. >Price is US$38.00, that is one hell of a mark up! Has anyone else in >Australia gotthe book cheaper direct from the States? MIX Bookshelf has the book for U.S. $41.95 + $4.50 International shipping. There phone number from inside the United States is 800.233.9604. For outside the U.S. it's 510.653.3307. Their 24 hour FAX number is 510.653.5142. Terry Barnum voltar!terry@uunet.uu.net ------------------------------ Date: Mon, 4 Jan 1993 14:15:26 EST From: vantomme@SOUND.MUSIC.MCGILL.CA Subject: Re: Cmusic books >I am looking for any sort of instruction manual or third party >books for cmusic. F. Richard Moore's book "Fundamentals of Computer Music" is uses cmusic to go through the subject material of the book - very useful. Jason Vantomme. ------------------------------ Date: Thu, 21 Jan 1993 13:39:59 GMT From: Andy Farnell Subject: Digital recording I have an extremely good quality transport mechanism for a 1 inch tape machine complete with autolocate and precision phase locked 80 ips speed. It was originally from a high speed analogue data-logger. I wish to use this to build up a digital multitrack (initally just for a stereo mastering machine to be later expanded). Obviously the potential bandwidth is there but I am having a hard time finding any circuits for encoding and decoding the 16 bit serial data to and from tape. Does anybody out there know: 1) Are there any circuits or diagrams around for such an encoder/decoder 2) Will I have to use different heads (the existing ones are quite high bandwidth because the system used a 120kHz FM recording method). 3) Is there an IC or ready made device which will do for [1]. 4) Any other fundamental problems I am likely to encounter in attempting this. I appreciate that the above info is sketchy and incomplete but any useful comments will be greatly appreciated. Since this is not exactly the perfect place to post this perhaps someone who knows of somewhere better would be kind enough to forward it. best regards andy james farnell ------------------------------ Date: Mon, 25 Jan 1993 11:21:00 -0500 From: Patrick Robinson Subject: Horf, horf, horf... Bill Fox writes: > Bill Fox 215-439-7217 | > AT&T Bell Labs | Glub-blug dip woot-boof wammie, > 555 Union Blvd. Rm. 1B-107 | hofr, horf, horf. > Allentown, PA 18103 (USA) | Dr. Mike Metlay > wbf@alux1.att.com | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ I beg your pardon? -Patrick ("Horf, horf, horf") Robinson pgr@ramandu.ext.vt.edu ------------------------------ Date: Mon, 25 Jan 1993 11:38:57 -0500 From: Patrick Robinson Subject: Re: your mail Metlay writes: > >Bill Fox 215-439-7217 | > >AT&T Bell Labs | Glub-blug dip woot-boof wammie, > >555 Union Blvd. Rm. 1B-107 | hofr, horf, horf. > >Allentown, PA 18103 (USA) | Dr. Mike Metlay > >wbf@alux1.att.com | > > Sorry, Bill, but I didn't say this. I was quoting Patrick Robinson. Ahhh... redeemed. I feel *so* much better, now. ;-} -Patrick pgr@ramandu.ext.vt.edu ------------------------------ Date: Tue, 12 Jan 1993 14:03:11 GMT From: Michel Fingerhut Subject: Ircam - Journee "portes ouvertes" Samedi 23/1 14h-22h "Peut-on visiter l'Ircam? Comment decouvrir les travaux et les experimentations musicales menes au sein de l'Institut?" Pour repondre a l'attente du public, nous avons organise l'an dernier notre premiere journee "portes ouvertes". L'ensemble des collaborateurs de l'Institut s'est mobilise et le succes a ete bien au dela de nos esperances, en donnees chiffrees comme en vraie qualite d'echanges. Nous renouvelons l'experience le 24 Janvier prochain. Demonstrations scientifiques, exemples musicaux, presentation des productions, ecoute d'archives sonores et visuelles : tous les laboratoires, studios et cellules seront animes selon un programme passant en revue la totalite de nos services. A l'Espace de Projection, l'Ensemble InterContemporain et son chef David Robertson offriront une trajectoire musicale 'non-stop' confrontant des reperes importants du XXe siecle et des oeuvres realisees a l'Institut. Samedi 23 Janvier, de 14h a 22 h Ircam 1, place Igor Stravinsky 75004 Paris Renseignements : (1) 44 78 48 16 Metro : Chatelet, Hotel de Ville, Les Halles, Rambuteau Bus : 29, 38, 47, 58, 67, 69, 70, 74, 75, 76, 85, 96 Parking : Centre Georges-Pompidou, Hotel de Ville ------------------------------------------------------------------------------- Extraits du programme detaille: ------------------------------------------------------------------------------- Concerts, projections, etc... Conferences 14h30 Denis Cohen : Jeux (extraits) 14h30 Modelisation des instruments. pour piano et station d'in- Applications a la facture formatique musicale Ircam instrumentale. Rene Causse 15h Philippe Schoeller: Feuillages EIC, David Robertson 15h15 L'acoustique virtuelle Olivier Warusfel 15h30 Edgar Varese : Integrales, Octandre. EIC, Robertson 16h M-A. Dalbavie : Seuils (extr.) 16h Modeles de synthese et controle EIC, Robertson (dir), Heidmann par diphones. (soprano) Philippe Depalle 16h30 Film : Repons de Pierre Boulez (Fest. de Salzbourg 1992) 16h45 Perception auditive de structures musicales. Stephen MacAdams 17h30 Elliot Carter : Huit pieces 17h30 Systemes informatiques pour timbales. Michel Cerutti d'assistance a la composition. Gerard Assayag 18h K. Stockhausen : Solo. Benny Sluchin (trombone), Station d'informatique musicale Ircam 18h15 Les synthetiseurs. Etat de l'art et evolutions 18h30 Y. Xenakis : Evryali. Miller Puckette D. Vassilakis, piano 19h G. Benjamin : Flight. Sophie Cherrier (flute) 19h30 Concert : Philippe Schoeller, Edgard Varese et Marc-Andre Dalbavie. Ensemble InterContemporain. Direction: David Robertson ------------------------------ Date: Sun, 31 Jan 1993 17:51:32 +0000 From: Nick Rothwell Subject: Meters and Tempi I am well and truly confused. This dance set contains four sections of music. The first is a set of interlocking loops at a slow tempo (62bpm) in 7/4. (A somewhat disguised Michael Hoenig rip-off, apart from the sampled Turkish flute.) The second is in 3/4 at 75bpm. The third is in 4/4 at 115bpm. The fourth is a reprise, 7/4, 62bpm. It all sounds fine. Really. Performer's conductor track contains the metre changes, and also the tempo changes, some of which are sudden, some of which are gradual (which means a long list of intermediate values, like MIDI controller fades). The guy who dancing to this suggested shortening the middle (3/4) section by 16 bars. OK, no problem. Quiz time: how far do I move the following sections to cover the gap? 16 bars? 48 beats? Different amounts depending on the time signatures of the pieces being moved? I moved everything by 48 beats (that was my guess at the right answer). It has moved everything along 16 bars, including the 4/4 and 7/4 sections. I'm just about to play it back to see if everything lines up, but my mental logic tells me it shouldn't; and yet all the offsets are right compared to the original sequence file. I'm sure this makes some kind of sense, but I certainly can't see it right at this moment. Can someone enlighten me as to what I've actually just done? Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Sun, 31 Jan 1993 17:25:03 PST From: metlay Subject: Re: Meters and Tempi >I am well and truly confused. Yes, but I love you anyway. >This dance set contains four sections of music. The first is a set of >interlocking loops at a slow tempo (62bpm) in 7/4. (A somewhat disguised >Michael Hoenig rip-off, apart from the sampled Turkish flute.) The second >is in 3/4 at 75bpm. The third is in 4/4 at 115bpm. The fourth is a reprise, >7/4, 62bpm. > >The guy who dancing to this suggested shortening the middle (3/4) section >by 16 bars. OK, no problem. Quiz time: how far do I move the following >sections to cover the gap? 16 bars? 48 beats? Different amounts depending >on the time signatures of the pieces being moved? > >I moved everything by 48 beats (that was my guess at the right answer). It >has moved everything along 16 bars, including the 4/4 and 7/4 sections. I'm >just about to play it back to see if everything lines up, but my mental >logic tells me it shouldn't; and yet all the offsets are right compared to >the original sequence file. I'm sure this makes some kind of sense, but I >certainly can't see it right at this moment. Can someone enlighten me as to >what I've actually just done? You removed 16 bars from a piece. You said you had to remove 16 bars, which in 3/4 is 48 beats, and so you did. You moved everything to fill the gap, and it did. I don't see what's so confusing; in Vision, this would have not only BEEN as straightforward as it looked, but it would possibly have LOOKED more straightforward as well (I'm unconvinced that the Graphic Chunk Editing of Performer is that much of a help, and I think I prefer the Subesquence/Player mode of Vision a bit better. It's not easier, far from it, but it does let you retain a better conceptual grip on what you're doing....) -- mike metlay | "He must be listening to bagpipes, atomic city | because he looks like plaid." p. o. box 81175 | pittsburgh pa 15217-0675 | (b. jonell) metlay@netcom.com | ------------------------------ Date: Thu, 14 Jan 1993 13:48:37 LCL From: CBDZ117F@GRTHEUN1.BITNET Subject: Midi and Samplers I know nothing about music so please forgive me if I make mistakes. I want to make a question about my soundblaster pro ii card. My music card supports midi files. I have two questions about them. Can I change the programs by myself to make other music orrgans ? (How ?) I mean something like a sampler. I want to record a bell and use it instead of the grand piano. If my midi does not support bells IS this possible ??? One second question. The midi program I'm using support 16 sounds. That means 16 channels or 16 voices. For example in a channel I can hear at least 4 voices at the time. (Of the same program). That means I can use 4*16 voices at least ? It sound very good to be real.... I know nothing about music but I always wanted. My SB card triggered my desire. So if you have an info about midi or cmf files please tell me. Thanks In advance Panayiotis Stokas - CBDZ117F@GRTHEUN1 (bitnet) ------------------------------ Date: Thu, 14 Jan 1993 09:23:48 -0500 From: "Joseph D. McMahon" Subject: Re: Midi and Samplers 93 01:48:37 pm CBDZ117F%GRTHEUN1.BITNET@auvm.american.edu writes: > > My music card supports midi files. I have two questions about them. > Can I change the programs by myself to make other music orrgans ? (How ?) > I mean something like a sampler. I want to record a bell and use it instead > of the grand piano. If my midi does not support bells IS this possible ??? > This is, as you say, very much dependent on what your soundblaster can do. MIDI files by themselves carry no sound information, merely "start a note- end a note"-type information. If you can sample sounds using the Soundblaster, you should in principle be able to substitute them for other sounds. > One second question. > The midi program I'm using support 16 sounds. That means 16 channels or > 16 voices. > For example in a channel I can hear at least 4 voices at the time. (Of the same > program). That means I can use 4*16 voices at least ? It sound very good to > be real.... > I wish this was true. Unfortunately, the card has to split its *total* of sixteen voices (referred to as "polyphony", usually) amoung all of the notes being played. I'm not sure what the Soundblaster does, but most other synthesis engines will either ignore notes in excess of 16 simultaneous notes, or will silence a currently-sounding note to produce a new one. This is called "voice stealing". You probably only have 16 voices total, which is different from 16 channels. A MIDI channel is a logical signal path, independent of the actual instruments. Each message sent out over MIDI is "addressed" to a specific channel. This allows you to control several instruments with only a single cable connected to the computer. Each instrument can be set up to receive on specific channels, so you could (for instance) put piano on channel 1, bass on channel 2, and drums on channel 3. Each instrument receives all of the MIDI messages, but ignores all of them except for the ones specifically addressed to it. If you're really interested in moving into learning to play and composing music, I'd suggest that you pick up my "buying-the-first" document from the EMUSIC-L FTP site at castrovalva.gsfc.nasa.gov. If you don't have FTP access, let me know and I will mail it to you. It explains a lot more about what you should look for in a keyboard or sound module. I believe there is also a MID primer available there as well. --- Joe M. ------------------------------ Date: Mon, 25 Jan 1993 12:43:50 ADT From: x92bba@ESSEX.STFX.CA Subject: Thesis stuff has arrived Hi...remember me? This is the thesis guy, Glen Collins. Sorry I took so long toget back to you but all of the documents that you sent were received and are being used. Thanks a million! My thesis is shaping up to be a good one, thanks to your help (along with many others)!!! See you later. Glen ------------------------------ Date: Fri, 15 Jan 1993 05:41:24 -0500 From: David HAUBENSACK Subject: YAMAHA synth users list ________________________________ | | | YAMAHA synth users list | | _______________________________| A new list is born in France, dedicated to YAMAHA users. If you want to subscribe, send a human request to Adam Mirowski at , who will add you manually to this list and send you back an help file if you ask him for... There are already more than 200 subscribers. Be the next one... ------------------------------ End of the EMUSIC-L Digest ******************************